This thesis is an investigation of barrenness and plant-to-plant variability (PPV) in ear development of maize (Zea mays L.). A three-year field experiment was conducted on homogenous plants with similar initial plant size, development and uniform spatial patterns in parental inbred lines CG60, CG102 and their F1 hybrid CG60 × CG102. Physiological processes underlying barrenness were dissected into plant growth through development and dry matter partitioning to the ear at canopy, subpopulation, and primarily, individual plant levels. The growth and development of the ultimately barren individuals were followed from early vegetative stage to physiological maturity (PM) using a non-destructive allometric methodology. Plant-to-plant variability in ear development, related to plant development, was measured destructively from ear initiation to 1 wk after silking and at PM. Results showed that the individual plants exhibited differential responses to their previous growth and development in the two parental inbred lines. No physiological traits in growth and development or dry matter partitioning to the ear during the critical period bracketing silking could characterize individual barren plants. The F1 hybrid was resistant to barrenness even at 160,000 plants ha-1. At 80,000 plants ha-1, the spikelet number per row (SNPR) and spikelet number per ear (SNPE) exhibited less PPV around silking than earlier stages of development. For the three genotypes, PPV in plant morphological traits and ear length was relatively constant throughout development. In addition, the period around the kernel row number (KRN) formation stage was the only time-window that the PPV in stem volume, representing PPV in above-ground plant dry matter (PDM), affected PPV in SNPR and KRN for the three genotypes, with SNPR being more affected. Although the F1 produced greater PDM at silking and 1 wk after silking, it had shorter ear length and less ear dry matter than the two parental inbred lines at the corresponding stages. When the relationships are elucidated among early ear development, plant growth, leaftip development, and dry matter partitioning to the ear, during the vegetative to silking stages and under stress conditions, then the physiological processes underlying barrenness of the tested inbred lines could be further characterized. / Syngenta, the Ontario Research Fund, the Ontario Ministry of Agriculture, Food and Rural Affairs, and the Natural Sciences and Engineering Research Council of Canada

Submitted by Ana Carolina Negrao Berlini De Andrade (nba.anacarolina@gmail.com) on 2016-06-28T21:56:30Z No. of bitstreams: 1 DO ARIDO A ESTETICA 28jun FINAL.pdf: 2397841 bytes, checksum: 30488d165854e1bca6eb5e7976bc1ac4 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-06-30T18:07:50Z (GMT) No. of bitstreams: 1 andrade_acnb_dr_arafcl.pdf: 2397841 bytes, checksum: 30488d165854e1bca6eb5e7976bc1ac4 (MD5) / Made available in DSpace on 2016-06-30T18:07:50Z (GMT). No. of bitstreams: 1 andrade_acnb_dr_arafcl.pdf: 2397841 bytes, checksum: 30488d165854e1bca6eb5e7976bc1ac4 (MD5) Previous issue date: 2016-04-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este texto tem como objetivo estudar as representações da aridez, leimotiv recorrente na produção artística brasileira, no romance contemporâneo Galileia (2009), de Ronaldo Correia de Brito, no qual percebemos que a aridez exerce papel fundamental, na medida em que não é apenas tema, mas elemento estrutural que reitera – e amplia – a aridez temática. Desse modo, a aridez, metafórica, estrutural ou literal é reelaborada pelo romance em questão, no qual as figuras relacionadas à seca e ao cenário do sertão retratam relações humanas, e não um local geográfico. Portanto, nosso objetivo é especificar o modo como o código linguístico trabalha com os conceitos de seca e de aridez, tanto do ponto de vista temático quanto do estrutural, analisando a utilização dos procedimentos técnicos e estilísticos próprios na definição de uma poética da aridez, e não sobre a aridez, diferença ressaltada por Ismail Xavier em texto sobre a Estética da fome (XAVIER, 2007, p.13). Para colocar em prática nossos objetivos, faremos uma abordagem do estereótipo de sertão difundido culturalmente e elaboraremos uma descrição geral das concepções de sertão presente no romance, de acordo com os personagens de modo a abordar o modo de apreensão do espaço sertanejo pelo narrador-protagonista Adonias, para quem o sertão equivale à violência e à barbárie. Posteriormente, abordaremos justamente os exemplos de violência humana presentes na obra que justificam a visão disfórica de Adonias e originam uma Imagem poética do sertão e uma alegoria da aridez humana. Para a análise desta, estabeleceremos relações entre as descrições plásticas do cenário sertanejo às questões perenes e universais da condição humana, dando origem a uma abordagem alegórica do sertão. Por fim, analisaremos a estrutura sintática e rítmica de Galileia em sua correlação com a aridez temática e metafórica, evidente no semi-simbolismo do romance. / Este texto tem como objetivo estudar as representações da aridez, leimotiv recorrente na produção artística brasileira, no romance contemporâneo Galileia (2009), de Ronaldo Correia de Brito, no qual percebemos que a aridez exerce papel fundamental, na medida em que não é apenas tema, mas elemento estrutural que reitera – e amplia – a aridez temática. Desse modo, a aridez, metafórica, estrutural ou literal é reelaborada pelo romance em questão, no qual as figuras relacionadas à seca e ao cenário do sertão retratam relações humanas, e não um local geográfico. Portanto, nosso objetivo é especificar o modo como o código linguístico trabalha com os conceitos de seca e de aridez, This work aims to study the barrenness representation, recurrent leimotiv in Brazilian artistic productions, in Ronaldo Correia de Brito’s contemporary novel Galileia (2009), in which the dryness has a fundamental role as it is not only a theme, but also a structural element that reaffirms – and amplifies – the thematic barrenness. Thus, the novel reworks the dryness, metaphoric, structural or literal, because the images related to the drought and to the Brazilian outback scenery portrays human relations and not just a geographical place. Therefore, the objective of this dissertation is to specify how the linguistic code works with the drought and barrenness concepts, both on the thematic and on the structural perspectives, analyzing the technical and stylistic procedures usage in the definition of a dryness poetic, and not of a poetic about dryness. This difference is highlighted by Ismail Xavier in his text about the Aesthetics of Hunger (XAVIER, 2007, p.13). In order to develop these objectives, there will be an approach of the Brazilian outback stereotype culturally spread in Brazil as well as a general description of the regions concepts present in the novel. This will be done through its characters perspectives as a mean to grapple how the Brazilian outback space is apprehended by the protagonist-narrator Adonias. To whom the backlands are equivalent to barbarism and violence. Later, the work will focus on the novel examples of human violence that justify Adonias dysphoric view and creates a poetic Image of the backlands and an allegory of human barrenness. To an analysis of this allegory it is necessary to stablish connections between the plastic descriptions of the Brazilian outback scenery and the perennial questions regarding the universal human condition, which originates an allegorical approach of these backlands. Ultimately, it will be done a study of Galileia’s syntactic and rhythmic structures and its interconnection with the metaphorical and thematic barrenness that is evident in the novel semisimbolism. / CAPES: 99999.006280/2015-03

The purpose of this study has been to examine and identify a negation of the mother and the maternal body within the Hebrew Bible. The starting point has been an understanding of a denial of feminine powers related to reproduction and women being primarily presented as vessels for paternity. A selection of biblical narratives was made to elucidate this negation through the structure of the texts by using an interdisciplinary method which combines a feminist hermeneutic with Russian Formalism. Previous feminist theologies like that of Ilana Pardes, Phyllis Trible and Esther Fuchs have assisted in highlighting the presentations of the mother and her role in the texts. Formalism has allowed a rejection of authorial context and intent; the study is synchronic, i.e. focus is on the text and its internal structures.  Upon examination, the narratives have shown that the mother’s textual life span is chiefly limited to achieving maternity, but that as a mother she is in secondary position to the father, has no creative powers of her own, and lacks parental rights. The maternal body is entirely excluded from the Creation narratives, it is the sole reason for infertility, and it is rigidly controlled by the Father-God.

Made available in DSpace on 2015-05-14T12:40:09Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1179400 bytes, checksum: edea362c443aab85973931484e654225 (MD5) Previous issue date: 2011-02-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The process of adaptation allows the approximating of two distinct areas, literature and cinema, making it possible, thus, the verification of the exchange system existing between them. Regarding such statement, this work is a study on the novel Vidas secas (1938), by Graciliano Ramos, and its homonymous film adaptation (1963), directed by Nelson Pereira dos Santos, in which questions concerning their dialogs, as well as the specificities and peculiarities that make up each artistic language, shall be scrutinized. The goal here is to analyze how the transposition of the literary text barrenness to the film took place, verifying how each artistic expression managed to expose the barren aspects in each narrative, especially concerning its relational and spatial forms, and, from this common element, emphasize which dialogic relations are established between the texts. For doing so, Mikhail Bakhtin (1997; 1998; 1999; 2003), and his concept of dialogism, is one of the theoreticians that contributed the most to this investigation, mainly for having provided a wider range of possible relations between both medias, entitling, thus, a study apart from the idea of fidelity. In order to widen the basis, several theoreticians from related areas have been employed: from film studies, the area of adaptation has been considered, in names such as Brian McFarlane (1996), Robert Stam (1992; 2003; 2006; 2008) and Ismail Xavier (1983; 2001; 2003), as well as those who have directed the attention to image analysis, such as André Gaudreault e François Jost (2009) and Jacques Aumont (1995); from literature, studies from literary theory have been used, as Gérard Genette (1995; 2006; 2008), Claudia Barbieri (2009) and Antonio Candido (2006), and also criticism referring to Vidas secas, such as Rui Mourão (1971), Antonio Candido (1992), Luís Bueno (2006), Maria Izabel Brunacci (2008). After conducting the theoretical and critical readings and the analysis, a series of dialogs has been found, both in the relationships of denouncing and the demarcation of a national identity, as well as the using of specific components of each art to highlight the reality of individuals. Therefore, it has been concluded that novel and film come together both in themes as well as in the form of narrative approach. / O processo de adaptação permite a aproximação de duas artes distintas, a literatura e o cinema, possibilitando, assim, a verificação do sistema de permuta existente entre elas. Pensando em tal afirmativa, este trabalho é um estudo sobre o romance Vidas secas (1938), de Graciliano Ramos, e sua adaptação homônima para o cinema (1963), realizada por Nelson Pereira dos Santos, no qual investigaremos as questões referentes a seus diálogos, bem como às especificidades e peculiaridades que compõem a linguagem de cada arte. Nosso objetivo é analisar como se deu a transposição da aridez do texto literário para o fílmico, verificando como cada expressão artística conseguiu expor o aspecto da aridez, especificamente no que concerne a suas formas relacional e espacial, e a partir desse elemento em comum, assinalar quais são as relações dialógicas estabelecidas entre os textos. Nesse sentido, Mikhail Bakhtin (1997; 1998; 1999; 2003), com o seu conceito de dialogismo, foi um dos teóricos que mais contribuíram para esta investigação, principalmente por nos proporcionar um maior escopo de relações possíveis entre as duas mídias, autorizando, portanto, um estudo dissociado da ideia de fidelidade. Buscando ampliar o nosso aporte, lançamos mão de outros teóricos de diversas áreas afins: no cinema nos apoiamos em teóricos que trabalham com adaptação, como Brian McFarlane (1996), Robert Stam (1992; 2003; 2006; 2008) e Ismail Xavier (1983; 2001; 2003), e também aqueles que direcionam sua atenção para a análise de imagens, como André Gaudreault e François Jost (2009) e Jacques Aumont (1995); na literatura, utilizamos estudos da teoria literária, como Gérard Genette (1995; 2006; 2008), Claudia Barbieri (2009) e Antonio Candido (2006), e da crítica referente a Vidas secas, como Rui Mourão (1971), Antonio Candido (1992), Luís Bueno (2006), Maria Izabel Brunacci (2008). Depois de realizadas as leituras teóricas e críticas e feitas as análises, constatamos que há uma série de diálogos entre as duas obras, tanto nas relações de denúncia e delimitação de uma identidade nacional, quanto na utilização dos componentes específicos de cada arte para realçar a realidade do indivíduo. Desse modo, concluímos que romance e filme se aproximam tanto na temática quanto na sua forma de abordagem.

<p> The barrenness narratives of the Hebrew Bible are not only theological but also cultural in nature. A reading of these texts highlights the fact that in the Hebrew culture, and larger ancient Near Eastern context, childbirth was central to a woman's identity. Since beliefs regarding fertility and infertility are similar in the Akan culture, this dissertation proposes that an African (Akan) perspective may be the bridge needed between the Western readings, in which infertility is not viewed so tragically, and the original ANE context, in which infertility is a shameful and tragic condition for a woman. In addition to examining biological infertility this dissertation will also explore "social barrenness." "Social barrenness" is an original term in this dissertation that seeks to categorise other kinds of barrenness circumstances described within the Hebrew Bible. An awareness of the cultural reality, and varieties, of infertility further elucidates the desperation and lengths to which women in the biblical narratives will go in order to have children. Additionally, an appreciation for the cultural dynamics of the narratives will illuminate the theological message(s) of the story. Since this study employs a cultural-narrative approach, it is appropriate to coin the word "wom(b)an," to underscore the centrality of the womb to a woman's identity in the Hebrew and Akan cultures.</p> / Thesis / Doctor of Philosophy (PhD)